From the opening of the introduction to Beethoven’s Seventh Symphony
Ivan Fischer makes clear the juxtaposition of power in orchestral
chords and poetry in oboe melody. Not only power but effort, notably
in this performance in the incisive strings’ ascending scales
in the first tutti, with a sense of endeavour, exploration
and a determination to succeed. Come the vivace exposition
proper, the flute solo first theme (tr. 1 3:49) has something
of a whirlwind giddiness about it and the following tutti,
with the important horn parts vibrant, has a festive swagger.
The second theme (4:50) even more exudes the freedom of release.
The development (8:15) is firm with an inner fire stoked by its
rhythmic obsession. The recapitulation has a comparable intensity
yet the poetic aspect returns with the oboe solo version of the
first theme marked ‘sweet’ (10:43) while the brief disappearance
of the background rhythm and apparent slight slowing in this performance
in the oboe, then flute and clarinet, solos from 10:54 is a magical
interlude of tender reflection. In the coda (12:30) Fischer gives
full play to the ominous brooding of the violas, cellos and double
basses and achieves an exciting increase in dynamic and rhythmic
impetus to a triumphantly assertive close.

I compared on SACD
the 2005 live performance by the London Symphony Orchestra/Bernard
Haitink (LSO Live LSO 0578). Here are the comparative timings:

Timings

i

ii

iii

iv

Total

Fischer

13:50

9:07

9:41

8:26

41:04

Haitink

13:24

7:41

9:05

8:30

38:40

Haitink’s approach
is more classical, Fischer’s more romantic with sound to match:
Haitink’s brighter, leaner, with a more sharply focussed bass;
Fischer’s denser, warmer, with a more diffuse bass. Haitink
brings more weight but less density to the introduction’s orchestral
chords, more dreaminess to the poetry, more graceful strings’
ascents of objective formality, but not the heroic deliberation
and vigour of Fischer’s. Haitink’s flute solo first theme is
calmer, his second leaner, his recapitulation neater than Fischer’s
without the slight slowing. Haitink’s coda smoulders gradually
to a close blazing enough but more formally controlled than
Fischer’s explosiveness.

The second movement
is this symphony’s slowest but is still marked Allegretto.
Fischer treats this in fairly measured fashion which creates
an opening of dark sepulchral hue, weighed down. Come the counter
melody on violas and cellos (tr. 2 0:54) the sense of lament
increases, perhaps for a hero? As in the first movement there’s
a deliberation about the expression. By the time this counter
melody is given out by the first violins, in passionate yet
quite lean tone, there’s a sense of heroic fortitude. The central
section (3:22) offers the solace of a balmy clarinet solo and
still more serene second theme (3:53), curtailed by the recapitulation
but this seems to have a smoother complexion as a result. The
rhythms in this performance have become neat and sensitively
intricate so the fugato development of the first theme (5:55)
seems a natural progression. Fischer much enjoys its gentle
shading, so much that the relatively quick crescendo at the
end (6:44) and affirmative tutti, taken slightly faster,
seem a mite forced. However, the return of the clarinet theme
is melting repose while the coda is thoughtfully distilled.

Haitink’s second
movement is a more regular Allegretto which gives more
shape to the line and brings to the counter melody a more beauteous
sorrow while the increase and decrease in dynamics as it continues
are telling and impassioned, rather more freely than Fischer.
All instruments in the central section are marked soft. Haitink
maintains more equality between the themes in the wind and accompaniment
in the strings which subdues the calm as the accompaniment is
still troubled. This also makes the return of the opening more
expected but of the middle section more serene.

By turns soft and
smooth, loud and gruff Fischer’s scherzo has pace and bounce
and a virtuoso flourish about its progression. His trio (tr.
3 2:18), more considered and sustained, still incorporates a
tension in wishing to progress and latterly a grandeur of statement.
The softer return of the scherzo is lighter, more diaphanous,
you feel it could vanish altogether. The return of the trio
is still more considered, an affectionate recall at first while
the later grandeur is enhanced. The final return of the scherzo
is tight and neat, a touch formal but leading logically to the
coda’s terse rejection of another return of the trio. Haitink’s
scherzo has more clown like sense of fun with a nice balance
between the neat and bluff aspects, clean line and rhythmic
verve. Fischer is more celebratory with more outlandish dynamic
and tonal contrasts and as often a sense of swirling dance.
Haitink’s trio, with its wind’s gentle tiptoe against a clear
string horizon then firm heroic climax, has more tension about
it than Fischer’s deft simultaneous conveying of reflection
and progression, more opulent wind tone and grander climaxes.

Fischer gives full
value to both the splendour and mayhem of the finale. Its swirling
opening theme has precipitous momentum, drive and density. The
triumphant horns are clear as are the flutes cascading down
at the end of the theme. There’s a sense of spontaneous combustion.
Fischer rather tones down the dynamic contrasts in the second
theme (tr. 4 1:07) but brings wild fury to the close of the
exposition. The development has an epic rhetorical manner to
start but the frenzied dance continues unstoppable. The second
theme and its explosive aftermath take on a more urbane hue
but Fischer’s concentration on the ominous fixated repetitive
bass in the coda sweeps this calmer phase away and he brings
out Beethoven’s two rare fff climaxes thrillingly. Generally
Haitink isn’t quite as powerhouse but shows a lean verve and
athletic drive as well as stronger dynamic contrasts in the
second theme, a keen development, though not with Fischer’s
tension and determination and vivid crescendos in the coda,
though not as prominent a bass groundswell as Fischer.

The other items
on Fischer’s SACD are innovative, an antidote to taking Beethoven
for granted. They are contemporary works to set in relief against
Beethoven’s achievement. In a booklet note which commendably
considers the contrasts between the works featured Clemens Romijn
quotes Weber’s observation on Beethoven 7 that “whoever wrote
this work was fit to be committed to an asylum”. With the slow
movement of Weber’s first clarinet concerto we get his musical
perspective which explains his reaction: a different world of
sustained line, a cantilena of luscious chromatically
spiced ascents and descents. Akos Acs garnishes it with appropriate
ornamentation as would a singer. The minimalist melody of extreme
repetition of Beethoven’s slow movement wouldn’t do, even though
the passionate intensity that derives from that Weber moves
towards in a more animated second section (tr. 5 2:14). Weber’s
innovation lies rather in exotic orchestration, in this movement
a third section of gentle reverie (2:51) given to 3 horns, alongside
which the clarinet muses.

I’m struck by the
similarities between Beethoven’s symphony and Rossini’s overture
to The Italian in Algiers. A soft opening is exploded
by loud chords. The introduction and continuation of the Allegro
first theme is full of repetitions of string patterns. The focus
of the climax (tr. 6 4:36) is in its rhythm and repetition with
a jolly theme in the lower strings as accompaniment. Structure,
emotion and rhythmic drive are more important than melody. Rossini,
however, does provide some melodic charm too: the sinuous descending
oboe decoration in the introduction, the chirpy flute, oboe
and clarinet first theme (2:00) and the cheeky oboe second theme
(3:21). Fischer plays up the comic aspects with ear splitting
loud chords, a ragamuffin of a flute in piccolo register, the
delightful shawm style oboe (6:25), a rampant triangle and side
drum. Every mood is caught with the utmost vivacity. I compared
the 1991 recording by the London Classical Players/Roger Norrington
(EMI 7 54091 2, no longer available). There’s a more arch knowingness
about the alluring personality of Norrington’s oboe solos where
Fischer goes more directly for melodic comeliness. Norrington
emphasises precision, balletic lightness and balance, Fischer
achieves the more sheer heady excitement of frenetic tuttis.

The rondo finale
of Wilms’ Symphony 4 Fischer plays as a fun piece. It starts
off in trim classical style in the minor and gets up a fair
head of steam in the tutti but its episode (tr. 7 1:13)
is sunny and also accelerates. It’s the mood of that episode
which wins out. Fischer keeps up the momentum entertainingly
and thus it has something of the helter-skelter quality of the
Beethoven 7 finale but nothing of its wildness or potential
for going off the rails. With Wilms it’s just a merry-go-round.
But it also makes creative use of repetition. The rondo theme
starts with 4 repetitions of the opening note. Repeated patterns
by the oboe from 3:54 and violins from 4:00 stoke up the energy
as Beethoven might but only to convey high spirits, no mania.

So if a Beethoven
7 with strong romantic leanings, plenty of flair, a miscellany
of other works which point up its special nature appeals, and
you’re happy with a slowish second movement, Fischer could well
fit the bill.

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